“Johan Creten is considered a precursor of the ceramics revival in contemporary art… Through his use of clay, his proven knowledge of the materials, his careful attention to glazing, and his thoroughly physical grasp of the medium, he restored ceramics to majestic grace and paved the way for young contemporary artists. The work of Johan Creten raises ceramics from a poor relation to a noble art.” – Galerie Perrotin on Johan Creten, Sunrise/Sunset.
“Sperling’s dynamic clusters of brightly colored forms blur the lines between painting and sculpture, image and object. Though each shaped canvas is distinct, it relies on other forms in the field of compositional coherence and energy. Often asymmetrical and happily off-kilter, a cluster is always satisfying in its surprising arrangement… they straddle painting and sculpture daringly, venturing form the wall and intruding into the space joyfully.” – Danny Kopel on Josh Sperling, Chasing Rainbows.
For its 44th edition from 19 to 22 October 2017 in Paris, FIAC will host a carefully balanced selection of leading international galleries in the iconic Grand Palais. FIAC consolidates the presence of major galleries working in the field of modern and contemporary art and confirms its support of the emerging generation, notably via the Lafayette Sector.
This year FIAC is re-introducing a design sector, with the participation of 5 galleries internationally renowned for their expertise in the field of 20th and 21st design. On Site presents sculptures and installations in locations in and around the prestigious Petit Palais.
FIAC reaffirms its strong cultural mission through the Hors Les Murs programme. A program of artworks – unrivalled in scope in the landscape of international art fairs – will be presented in emblematic Parisian sites: the Jardin des Tuileries, the Musée National Eugène Delacroix, and the Place Vendôme. – FIAC.
A photo diary of Foire Internationale d’Art Contemporain held at Grand Palais, Paris xx
Artistic Director Adam Szymczyk has proposed a twofold structure for the exhibition, as reflected in the working title “Learning from Athens.” In 2017, Kassel and the Greek capital will host the exhibition on an equal footing: Kassel has relinquished its hitherto undisputed position as the central exhibition venue in favor of another role, namely that of a guest in Athens.
For documenta 14, participating artists have been invited to think and produce within the context of the emerging dynamic relationship between these two cities and to develop a work for each of the two locations. documenta 14 seeks to encompass a multitude of voices in, between, and beyond the two cities where it is situated, reaching outside the European context from the vantage point of the Mediterranean metropolis of Athens, where Africa, the Middle East, and Asia stand face to face. – Universes in Universe.
documenta 14 is not owned by anyone in particular. It is shared among its visitors and artists, readers and writers, as well as all those whose work made it happen. – documenta 14.
In one of the vaults of Assisi’s Upper Basilica, at the end of 1200, Cimabue, wrote “Ytalia” in the margin of a painting of a city, almost certainly Rome: a very early affirmation of the existence of Italian civilization. With this mark, Cimabue sanctioned that national boundaries are artistic before political and that national identity is made up of classic and humanistic culture, pagan beauty and Christian spirituality.
Ytalia offers the national and international public the opportunity to encounter some of the major artists of our times. Over 100 contemporary works of art at Forte di Belvedere and throughout the city: “a veritable museum of contemporary art, in the heart of the city, between interior and exterior, between the Middle Ages and Renaissance, between museums and gardens, funerary chapels and areas of political life, galleries and studios, cloisters and crypts” – Ytalia.
A photo diary of Ytalia: Energy Thought Beauty: It’s All Connected in Florence xx
Annette Messager is one of French art’s most respected international figures. Sculpting an eccentric, dreamlike path through and around the Villa Medici, Messager shows that for her places are linked to the body and to skin. “All my work,” she has said, “speaks only of the body.”
Her creations are built around women’s everyday existences, exploring their rebellions, their fears, and their fantasies with the help of scraps of fabric, color pencils, doctored images, and a jumble of nightmarish chimeras involving steel spikes, dolls, and hooded soft toys. – Villa Medici.